Archiv der Kategorie: Marianne Elliott

The Stubborn Absurdity of Hope

Tony Kushner: Angels in America, National Theatre, London (Director: Marianne Elliott)

By Sascha Krieger

„A gay fantasia on national themes“: the subtitle of Tony Kushner’s two-part take on an America at a watershed moment of history – between AIDS epidemic and end of the Cold War – hints at the scope of what is arguably one of the most significant plays of the 1990s. Opening in 1993 and 1994, respectively, the wounds are still visible, the pain still fresh. The death of certainties, the dread of an approaching apocalypse – the threat of a nuclear war was still real in 1985 when the play takes place while the environmental threats such as the vanishing ozone layer started getting mass attention – found expression in Kushner’s panorama of lost people questioning their identities, drifting along in the search for meaning, lashing out against the loss of the old world order. Built around a young man battling with AIDS, the loosely and sometimes bizarrely connected personnel are like explorers in a hostile and unknown universe who have to find their way mostly without help while longing for the closeness and warmth and support they all seem to have lost. With the arrival of the supernatural, an Angelic sphere that’s lost its God, the view widens to the universal. Humankind has to find their own way, no God will help, the angels being as lost as those they mean to protect.

Image: Helen Maybanks

Weiterlesen

Once upon a time: Notes from the London stage

William Shakespeare: Much Ado about Nothing, The Old Vic, London (Director: Mark Rylance) / Tori Amos and Samuel Adamson: The Light Princess, National Theatre/Lyttelton Theatre, London (Director: Marianne Elliott)

By Sascha Krieger

Let us start with an apology: Yes, London is one of the, if not the leading theatre capital in Europe, a city full of stages as rich in tradition as they are in variation. There is little not to be found in Britain’s capital, so if the following two reviews are little more than underwhelming, this is more to do with this reviewers poor choice in current productions than with the overall quality of London’s theatre offerings. But alas, truth must be told and it is a matter of fact that not all is well on the London stage and two productions very different in nature must serve as witnesses: one a rather uninspired new take on one of Shakespeare’s more popular comedies, the other a musical that might not be remembered – or running, for that matter – for very long.

Weiterlesen